The Hundred Languages of Children- Chihuly's Reeds

*** NOTE: Due to an error part of this was lost in the first post.***

The "hundred languages of children" is a phrase that is often adopted from the work of the preschools of Reggio Emilia and is used as a metaphor for thinking about the work of children. It is symbolic of the the hundreds of ways children speak to us -- the many nuances and gestures, spoken words and unspoken words, as well as, their "language" that is used through the materials. It is a metaphor that asks us, adults, to step back and listen to the child fully in order to understand the child's theories or intentions. We observe and capture the child's work using documentation in order to "hear" and "see' as the children make their thinking visible to us through their multiple languages.

One place which enhances, supports and compliments the child's hundred languages is the atelier. The atelier is a beloved place in so many ways. It allows us to slow down the pace or rhythm of the day in order to encourage intentionality. It brings children and adults together in small intimate groups which allow us (teachers) to dialogue and co-construct understanding with the child or the children. It allows for the building of relationships between peers and the child-adult. It allows for those relationships to solidify and intensify. The atelier is a place that supports intimate dialogues around ideas and theories, where there are no right or wrong questions or ideas but rather where only possibilities are allowed to soar.

As our year unfolds, we will use the atelier as a source for provocation, hypothesis-building, unpacking of the child's theories across mediums and, most importantly, as a place for knowing and experiencing the languages of the various media in the atelier -- clay, blocks, wire, paper, paint. etc. Exploring and knowing about the affordances (how each media can represent and or support the child's idea) of each of these media will in turn allow the child to use the various media as a symbolic language. These explorations will support their theories and hypotheses not only this year but the next as well. 

In slowing down and learning about the languages of the media, we are invite them to think about their thinking. This shift takes the child into metacognition  or what is called critical thinking. This thinking is a step beyond the memorization of facts; it is about the thinking process itself. It moves the child into learning how to learn, which in turn is setting the stage for lifelong learning.

CHIHULY'S REEDS... Sensitizing the Mind's Eye

In observing the children during the early weeks of the school year, small a-ha moments about their work began to emerge. We observed their work in the message area, their drawings and their work in the mini-atelier. We began to see small moments that interconnect with many areas of the child's development. In the broad sense we would say math, writing, and even motor skills, but in looking deeper, it is more about the symbolic representations that interconnect and will move the child into deeper critical thought.

One of the interconnections that could be drawn was within the idea or concept of lines -- lines are used in writing, the written word, numeracy/math, and in drawing. Contemplating upon our observations, we found two key ordinary moments that helped with framing what would come next.

The first moment came in the mini-atelier with the children's discovery of the plastic canvas with holes. The children began to slip pipe cleaners into the holes. Noticing this, we brought out Chihuly's art book and shared with the children how the artist worked with glass in making something that looked similar to theirs. 

The children began to use Chihuly's book/work as a reference in creating their own chandeliers. As the children continued working with the pipe cleaners. it was if their eyes were becoming sensitive to the lines and curves in the artist's work.

The children began creating the swirls and gentle curves in their

own work through the pipe 

cleaners. We noticed that they moved from random selections of the colored pipe cleaners to intentionally thinking more about their selections, which were based on or inspired by the images in Chihuly's book. This classroom moment caused us (adults) to pause and reflect upon the children's intentionality  revealed in this moment.

A week later another moment surfaced in the studio with an interaction between N.N. and Ms. Leslie as a game of maze evolved around the give-and-take of lines and the intersection of lines as the two created a "giant" art work out of this dialogue between the teacher and child. Throughout the "game" there were no stated rules, yet rules emerged from N.N. as the game intensified and became more and more complicated in design. The significance of the moment was the interplay between teacher-child and the line-intersecting-line, which created the "maze."

In thinking about these moments, we began to unpack their significance as it connected with the children's work. We began to think about one of Chihuly's pieces entitled Reeds.

Chihuly's Reeds incorporated this idea of line into his art. Its vibrance seemed to offer possibilities for wonder, for slowing down the mind's eye, and for exploring the concept of "line."

The teachers wondered what medium might we use. In searching for possible materials, Ms. J. discovered neon straws which emulated the vibrance of Chihuly's work. She brought in the neon straws, and once the children caught a peek of the straws, their interest and curiosity grew. 

Observing the wonder that the straws created, we decided to proceed in using them as a medium for provocation. In considering this medium. we realized that it had some built-in challenges that could lead to frustration from this young group. The straws were slick, didn't hold together by themselves, and some of the straws were small in diameter. All of these elements could hinder the children's work.

In thinking about these possibilities, the teachers decided to frame two stages for the children's work with the straws. The first would be time for "messing about" and knowing the "language" and or affordances of the straws as a medium. We would observe and take notes during this messing-about stage for future encounters with the medium.

In observing the messing-about stage, we would also be looking for signs of the children's frustration levels when working with the medium and be ready to slip into the second stage. The second stage would add another layer to their glue work. It was our intention that providing glue would support and extend the children's thinking with the materials.

We were ready to begin!                     

The children began their exploration and "messing" about with the "reeds."

Soon they were ready for the second stage -- the addition of glue as a support for extending their ideas and work. The children worked on two different occasions using the glue and reeds.

The glue became a support in their work with the reeds as it did secure them in place. Yet in close "listening" or observation of the children's nuances, we noted that many of them were experimenting with height in wanting to build up. The glue did not support this learning knot of theirs.

Reflecting upon this, we pondered whether we should add another tool for the children to support their work such as tape. This group had been experimenting and messing about with tape since the early weeks of school. We wondered if they had enough experience with this medium that it could be used as a supportive tool for their use with the reeds. We decided to re-introduce tape as a tool.

Noting that indeed the tape and glue did provide support to their ideas and thoughts, another possibility emerged from the children. While working with the tape and reeds, Z.O. looked intently at the Chihuly's Reeds in the art book and commented, "Look, mine won't stand up because it doesn't have a log or stick at the bottom."  Once again reflecting upon this provocation that the children had tossed, the teachers began to think about possible bases or foundations that could be used for supporting their work. The idea of a styrofoam foundation emerged. An email went out to the parents and soon styrofoam bowls and trays were sent in for use in the next phase of their work.

The styrofoam bases with the tape did support the reeds and allowed for the children to "stand" the reeds up. This provided new learning knots and provocations for their work.

As the children's journey continues, we will see what will emerge next!

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